援引薩依德東方主義論述，本論文嘗試分析李小龍從影代表作——《猛龍過江》，探索導演李小龍如何操控傳統功夫片鏡頭，以顛覆西方刻版之文化再現。換言之，本論文研究李氏如何藉由電影藝術之種種可能以擷抗西方主流的文化論述。在李氏獨樹一幟的動作影片中，他一方面在鏡頭前巧妙呈現傳統與獨創的中國功夫招式，同時更訴諸西方影片製作之藝術與巧門，使身兼演員與導演的他得以在大銀幕上大顯身手，徹底改寫西方人對中國人之刻板印象。再者，就武術理論與實踐而言，李氏亦賦予其武學論述葛蘭西文化霸權之色彩。透過霍爾編碼與解碼之文化分析模式，本文亦探討李氏電影再現之觀眾接受狀態。要言之，巧妙結合功夫格鬥與電影藝術，李氏藉由其突出之國際銀幕英雄形象，以及扶弱抑強之電影敘述，可謂為飽受壓抑的中國人、東方人與邊緣族群一舒心聲，重新申張受迫者之主體性。

Taking Edward Said’s discourse on Orientalism as a point of departure, this paper attempts to explore how Bruce Lee confronts Orientalism with cinematic art. It analyzes one of Lee’s representative films, The Way of the Dragon, examining how the director manipulates traditional kung fu cameras to subvert stereotypical cultural representations. In this unique action film, he makes the best of Chinese kung fu while appealing to the art of Western filmmaking, where—as an actor and director— he strives to screen against and beyond occidental stereotypes. As a result, he transforms a Western mythology into an Asian heroic myth and tinges the theory and practice of his kung fu formation with a Gramscian hegemonic vein in a sophisticated manner. This study also discusses audience receptions of Lee’s cinematic representations based on Stuart Hall’s encoding-decoding model for cultural analysis. From Lee’s brand new perspective, the audience witnesses that an Oriental nobody dares to go so far as to stand up against Orientalism and manage to defy Western sweeping generalizations of the Orient. The film thus rewrites the stereotypical discourse that portrays the so-called Chinaman as affected and not effective. Presenting a firm Chinese subjectivity by means of kung fu fightings on the stage and in the limelight, Lee succeeds in asserting himself as an important international cinematic figure who in one sense or another utters the unutterable suppressed inner voices for the Chinese people, the Oriental, and all those who belong to the marginal.